Sans Superellipse Ugmoj 10 is a very bold, normal width, low contrast, italic, tall x-height font visually similar to 'Magnitudes' by DuoType, 'Grota Sans' and 'Grota Sans Rounded' by Latinotype, 'PODIUM Sharp' by Machalski, and 'Frygia' by Stawix (names referenced only for comparison).
Keywords: headlines, posters, sports branding, packaging, logotypes, sporty, playful, retro, punchy, energetic, impact, motion, friendly strength, display emphasis, retro modernity, rounded, soft corners, compact, chunky, slanted.
A heavy, rounded sans with a consistent forward slant and compact proportions. Letterforms are built from squarish, superellipse-like shapes with generously rounded corners and mostly uniform stroke thickness. Counters tend to be tight and rectangular-oval, and terminals are blunt, producing a dense, blocky texture. The rhythm is steady and sturdy, with simple construction and minimal modulation, optimized for strong silhouette recognition at large sizes.
Well-suited to headlines, posters, and bold brand moments where immediate impact matters. It can work effectively for sports-themed graphics, product packaging, and logotypes that benefit from a compact, rounded, energetic look. For longer copy, it’s likely most comfortable in short bursts (labels, callouts, UI banners) rather than continuous text.
The overall tone feels athletic and high-impact, with a friendly softness from the rounded geometry. Its slant and chunky shapes give it a sense of motion and confidence, leaning into a retro sports and arcade-adjacent attitude rather than a neutral corporate voice.
The design appears intended to deliver maximum punch with a softened, rounded construction, combining a strong blocky footprint with a sense of forward motion. Its cohesive superellipse geometry suggests a focus on bold display settings where shape consistency and recognizability are more important than delicate detail.
The numerals and lowercase echo the same rounded-rectangle logic as the capitals, maintaining a cohesive, poster-like presence. The tight apertures and compact counters suggest it will look best when given breathing room in tracking and line spacing, especially in long phrases.